It’s 2020 and by now there is an undeniable Cape Francis sound, a careful simplicity around musical arrangements that allows for big cinematic feeling without ever broaching the realm of dramatic. “Home” is this year’s third single from Kevin Olken Henthorn’s solo project, and it slides easily into place. With the signature finger-picked electric guitar and soft horns lent by The Westerlies, the gentle heartbeat of percussion keeps every element grounded while we, the listeners, are transported to somewhere a little calmer, more reflective of the past and future.

The winds of change are blowing and I’m reminded of the age-old allegory about the two trees weathering a storm, the story that councils us to bend, not break when faced with adversity. "Home" follows a similar idea, acknowledging what can’t be fought and that sometimes it’s best to let yourself be led down the path the universe has chosen for you, regardless if that path is hard and full of unknowns. We’ve all heard it before, it’s about the journey, not the destination, and sometimes that’s how the notion of ‘home’ can be defined as well. Pierced by lyrics like, “Standing out like a lightning rod / still aflame by the burns I’ve got,” it’s important to be mindful that we’re all grappling with our own trauma, and each of us is carrying our own baggage until we get to a place where we can finally put it down.

After many years on the east coast, Cape Francis will become an LA-based project by the beginning of September 2020.

This ultra somber and haunting song co-written by Lukas Frank and Phoebe Bridgers and can be found on the fourth episode of the new Netflix show Godless. With the repeated line "Where is God now?" heard various times throughout it under the grimacing Western sounding guitar tones, it's the perfect fit for a show about outlaws in the Wild West or if you just like really sad music.

Belgian indie group Pale Grey’s single, “Seasons” off of their new album, Waves is the perfect complement to a quiet fall afternoon. It starts off with a simple beat and some garage-like synths that quickly fill up the track with a feeling of longing. Though it sits at just over two minutes, the song packs an emotional punch with minimal production. It asks the question of whether or not you can go on when the one you love passes away, and in that contemplation is where the song shines.

Indie favorites JR JR, formerly known as Dale Earnhardt JR JR, have returned to the scene with new music after their self-titled LP back in 2015. The new single, “Clean Up” offers a look at the mind of someone coming to terms with their addictions and indulgences. The duo uses a throbbing bass line, simple plucked guitar and harmonies to illustrate the conflict that happens when one willfully chooses something that is bad for them. “Clean Up” brings JR JR to a more provocative realm, and one that we are excited to see more of in the upcoming album.

Henry Jamison is a storyteller at heart. It may be in his blood — his father, a classical composer, and his mother, an English professor — but Jamison is a writer and artist in his own right, evidenced by his debut album The Wilds (released October 27th). Beyond writing, recording and arranging the album all on his own, Jamison has a special ability to bring each track to life. Take his song, “The Wilds”: it’s instrumentally rich without being overbearing, letting Jamison’s narrative whisk you away. “The Wilds” sounds like an old-time American love story - unassuming and familiar, but nevertheless, still surprising.

Los Angeles genre-bending artist Moses Sumney released his gorgeous and ethereal debut album Aromanticism into the world this September. Sumney has made a big impression on artists like Solange and Sufjan Stevens for good reason. His infusion of soul and folk come together on this album in a way that leaves us begging for more. A prime example of this heavenly blend is found on the third song of the album, “Plastic.” A previous version of the song can be heard on the first season of Issa Rae’s HBO series, Insecure. This new version serves as one of the more simplistic songs on the album, featuring just a fingerpicked electric guitar, a synth and Sumney’s captivating voice. The hook of the song repeats the line “my wings are made of plastic,” each time sung in a slightly different way than it was before, continuing to imbue the phrase with new meaning. This song of vulnerability, self-awareness and secret-spilling is the kind that you can leave on repeat and get lost in for hours.